Caroso's Il
Canario (Il Ballarino)

I have not
reconstructed Caroso's Il Canario in full (perhaps this will
happen in a later edition of this book), however I have included
some notes here.

The dance is basically similar in
form and structure to Negri's Il Canario, however it is not as
complex.

Opening Figure

Caroso's opening figure is very
similar to Negri's: The dancers begin at the foot of the hall, in
proper position, holding ordinary hands (the man holding the
lady's left hand in his right hand). It begins with a riverenza
minima, and two continenze , left then right. It then continues
with 8 seguiti spezzati schisciati (sliding steps) in exactly the
same pattern as Negri: 4 moving forwards, and then 4 turning to
the left, the lady moving to one end of the hall and the man
moving to the other. The introduction finishes with 2 passi
presti, and a cadenza to finish in place.

Variations

Caroso's
variations are done similarly to Negri's, with the man doing a
variation moving forwards, and then a ritarata moving backwards.
I have listed a few of Caroso's variations in the next section.
Caroso lists a total of 6 canary variations.

All of Caroso's variations are done
equally by the man and the woman, except for the third and sixth
variation.

Conclusion

Caroso's Il Canario concludes at the
end of the lady's 6th variation, where the man and the
lady come together after dancing a short scorsi passage together.
The dance concludes with a simple riverenza.

Music

Caroso only
gives 13 bars of Canary music, of which the 13th bar is
obviously meant to be played as a cadenza. There are no internal
repeat markers in the music, although there is obviously meant to
be some as none of his variations are as short as 12 or 13 bars,
and neither is the introduction or conclusion section.

A 32 bar piece extrapolated from
Caroso's canary music is given in The Music for Del's Dance
Book, and is the same piece
that the Lochac Il Canario is danced to.